|
|
|
ID: GFO00960
CDs: 2
Type: CD
|
Subcollection: OpéraRecorded live at Glyndebourne on 5 June 1960.
Includes 3 discs in a 80 page hard-bound book.
Italian conductor Vittorio Gui was Glyndebourne’s musical director from 1951 - 1963, and introduced a strong Italian theme in his programming - Rossini and Bellini amongst them. Bellini’s last and arguably richest opera I Puritani, comes from Glyndebourne’s recording archive, dated 1960 and was the first performance of this opera in Britain since 1887.
This is Joan Sutherland’s debut in the role of Elvira. This young and extraordinary bel canto talent is the heroine in this production. She has a beauty of tone, her voice fluent and eloquent, the intimate confines of the Glyndebourne opera house allowing the warm glowing colour in Sutherland’s voice to radiate.
So acclaimed was this production that it was selected for Glyndebourne’s return to the Edinburgh Festival after a 4 year absence and Sutherland, so in love with her Glyndebourne costumes was she, that she borrowed them from the production for her performances as Elvira at the Gran Teatro del Liceo in Barcelona in December 1960.
Joan Sutherland (Elvira), Nicola Filacuridi (Arturo), John Kentish (Bruno), Giuseppe Modesti (Giorgio), Ernest Blanc (Riccardo), David Ward (Valton) & Monica Sinclair (Enrichetta)
The Royal Philharmonic Orchestra & The Glyndebourne Chorus, Vittorio Gui
Track list:
CD: 1
I Puritani, opera
1. Act 1. Introduzione
2. Act 1. All'erta! All'erta! L'alba apparì,
3. Act 1. O di Cromwell guerrieri
4. Act 1. A festa!
5. Act 1. Recitativo ed Aria. Or dove fuggo io mai?
6. Act 1. Recitativo ed Aria. Ah! per sempre io ti perdei
7. Act 1. Recitativo ed Aria. T'appellan le schiere
8. Act 1. Scena e Duetto. O amato zio, o mio secondo padre!
9. Act 1. Scena e Duetto. Chi mosse a' miei desir il genitor?
10. Act 1. Coro e Quartetto. Ad Arturo onore
11. Act 1. Coro e Quartetto. A te, o cara
12. Act 1. Finale primo. Il rito augusto si compia senza me
13. Act 1. Finale primo. Cavalier
14. Act 1. Finale primo. Figlia a Enrico, a Carlo sposa
15. Act 1. Finale primo. Son vergin vezzosa
16. Act 1. Finale primo. Sulla virginea testa
17. Act 1. Finale primo. Ferma! Invan rapir pretendi
18. Act 1. Finale primo. Dov'è Arturo?
19. Act 1. Finale primo. Oh vieni al tempio, fedele Arturo
20. Act 1. Finale primo. Ma tu già mi fuggi?
CD: 2
1. Act 2. Introduzione e Romanza. Ah dolor! Ah terror!
2. Act 2. Introduzione e Romanza. Cinta di fiori e col bel crin disciolto
3. Act 2. Introduzione e Romanza. E di morte lo stral non sarà lento
4. Act 2. Scena ed Aria. O rendetemi la speme...
5. Act 2. Scena ed Aria. Qui la voce sua soave mi chiamava e poi sparì
6. Act 2. Scena ed Aria. Vien, diletto, è in ciel la luna
7. Act 2. Duetto - Finale secondo. Il rival salvar tu dêi
8. Act 2. Duetto - Finale secondo. Se tra il buio un fantasma vedrei bianco, lieve...
9. Act 2. Duetto - Finale secondo. Riccardo! Riccardo!
10. Act 2. Duetto - Finale secondo. Suoni la tromba
11. Act 3. Uragano
12. Act 3. Romanza e Duetto. Son salvo, alfin son salvo
13. Act 3. Romanza e Duetto. A una fonte afflitto e solo
14. Act 3. Romanza e Duetto. Qual suon!
15. Act 3. Romanza e Duetto. Son già lontani
16. Act 3. Romanza e Duetto. Finì... me lassai
17. Act 3. Romanza e Duetto. Che provò lontan da me?
18. Act 3. Romanza e Duetto. Vieni, vieni fra queste braccia
19. Act 3. Finale terzo. Arturo? Lo sciagurato!
20. Act 3. Finale terzo. Cavalier, ti colse il Dio
21. Act 3. Finale terzo. Credeasi, misera!
22. Act 3. Finale terzo. Suon d'araldi? |
| 29.00 eur Buy |
|
ID: GFO00206
CDs: 2
Type: CD
|
Subcollection: OpéraRecorded live at Glyndebourne on 12, 15 & 22 August 2006. A recording of a rarely performed work with consummate Russian conductor and cast.
Prokofiev’s last opera, Betrothal in a Monastery, launched the Glyndebourne label in 2008. According to Shostakovich it was ‘one of Prokofiev’s most radiant and buoyant works’. It has been unavailable for several months and back in stock, repackaged in line with the more recent Glyndebourne releases.
Luxury 256-page hard-bound book.
Essay by Harlow Robinson, world authority on Soviet and Russian cultural history.
Includes full libretto in Cyrillic with English, French and German translations.
Viascheslav Voynarovskiy (Don Jerome), Andrey Breus (Ferdinand), Lyubov Petrova (Louisa), Alexandra Durseneva (The Duenna), Vsevolod Grivnov (Don Antonio), Nino Surguladze (Clara), Sergei Alexashkin (Mendoza), Alan Opie (Don Carlos)
London Philharmonic Orchestra & The Glyndebourne Chorus, Vladimir Jurowski
Track list:
CD:1
Betrothal in a Monastery ('The Duenna'), Opera, Op. 86
1. Prelude
2. Act 1. Tableau 1. Scene 1. But this is just fantasy!
3. Act 1. Tableau 1. Scene 2. Plain. Round-shouldered
4. Act 1. Tableau 1. Scene 3. She has shaken your hand
5. Act 1. Tableau 1. Scene 4. The moon looks in your window
6. Act 1. Tableau 1. Scene 5. Stop that mewing
7. Act 1. Tableau 1. Scene 6. Masker's Dance
8. Act 1. Tableau 1. Scene 7. I had better get her married off
9. Act 1. Tableau 1. Scene 8. Friends, depart
10. Act 2. Tableau 2. Scene 1. It will work, Nanny, won't it?
11. Act 2. Tableau 2. Scene 2. Splendid, Señor, splendid
12. Act 2. Tableau 2. Scene 3. Will you cherish me in my old age?
13. Act 2. Tableau 2. Scene 4. Give it back!
14. Act 2. Tableau 2. Scene 5. If you have a daughter
15. Act 2. Tableau 2. Scene 6. It looks like the first act has been played out wi
16. Act 2. Tableau 3. Scene 1. Buy some fish from Señor Mendoza's barges!
17. Act 2. Tableau 3. Scene 2. Rosina... Rosina...
18. Act 2. Tableau 3. Scene 3. Ferdinand alone is dearer
19. Act 2. Tableau 3. Scene 4. I had known what pranks
20. Act 2. Tableau 3. Scene 5. My beard? My beard is not at all bad
21. Act 2. Tableau 3. Scene 6. There is no greater happiness
22. Act 2. Tableau 4. Scene 1. Yes, yes, yes!
23. Act 2. Tableau 4. Scene 2. My pretty... my pretty
24. Act 2. Tableau 4. Scene 3. When the cheerful fop
25. Act 2. Tableau 4. Scene 4. Well?
CD:2
1. Act 3. Tableau 5. Scene 1. Ah, time does not want to move on
2. Act 3. Tableau 5. Scene 2. Come in, come in
3. Act 3. Tableau 5. Scene 3. Should we take a sly look?
4. Act 3. Tableau 5. Scene 4. It's bad to peep
5. Act 3. Tableau 5. Scene 5. How my soul is beaming!
6. Act 3. Tableau 6. Scene 1. You are not playing in tune
7. Act 3. Tableau 6. Scene 2. My respectful greetings to the Señor!
8. Act 3. Tableau 6. Scene 3. Please, let us continue
9. Act 3. Tableau 6. Scene 4. Lopez! Lopez!
10. Act 3. Tableau 7. Scene 1. Here I am, a nun
11. Act 3. Tableau 7. Scene 2. They have gone, gladdened, happy and in love...
12. Act 3. Tableau 7. Scene 3. It must be here
13. Act 4. Tableau 8. Scene 1. The bottle is the sun of our lives
14. Act 4. Tableau 8. Scene 3. They bring more wine!
15. Act 4. Tableau 8. Scene 4. Take care, Antonio!
16. Act 4. Tableau 8. Scene 5. Straight down to business now, Don Ferdinand
17. Act 4. Tableau 9. Scene 1. I can't understand it
18. Act 4. Tableau 9. Scene 2. Aha, here's Mendoza at last
19. Act 4. Tableau 9. Scene 3. What is this? Why are you here?
20. Act 4. Tableau 9. Scene 4. Son! At last
21. Act 4. Tableau 9. Scene 5. Don Jerome, Don Herome! |
| 29.00 eur Buy |
|
ID: GFO01260
CDs: 2
Type: CD
|
Subcollection: OpéraRecorded live at Glyndebourne in June 1960.
Includes 2 discs in a 153 page hard-bound book.
Glyndebourne’s association with Falstaff commenced in 1955 for a production staged at the Edinburgh Festival, directed by Carl Ebert, designed by Osbert Lancaster and conducted by the great Carlo Maria Giulini.
Falstaff quickly proved to be a favourite and enjoyed 5 revivals in quick succession. This recording comes from Glyndebourne Festivals’ 1960 season, conducted by Vittorio Gui, in what was Geraint Evan’s third outing as Falstaff.
Evans sung in the 1957 and 1958 Glyndebourne restagings, in a role that was to go on and have a role in defining him as a singer, performing Falstaff in numerous productions including Covent Garden and the Metropolitan Opera, and on record under Georg Solti.
On this recording, Geraint Evans is joined by Sesto Bruscantini as Ford, Juan Oncina as Fenton, Ilva Ligabue as Alice Ford, a role she is most remembered for having recorded it twice: under George Solti and Leonard Bernstein, this (new/archive) recording predating both these.
The remaining classic cast member is the Swiss tenor Hugues Cuénod as Dr Caius, his glorious sense of the role's comedy beautifully portrayed here. Hugues Cuénod passed away in December 2010 at the age of 108, having a career that spanned 66 years. He was something of an institution at Glyndebourne, walking the Glyndebourne stage for over 30 years and involved in some 470 performances. At the age of 82 he appeared in Glyndebourne’s production of Le nozze di Figaro and in 1990, at the age of 87, was offered the role of Monsieur Taupe in Capriccio, a role he had sung previously at Glyndebourne, but declined.
Geraint Evans (Sir John Falstaff), Ilva Ligabue (Alice), Anna Maria Rota (Meg), Oralia Dominguez (Mistress Quickly), Sesto Bruscantini (Ford), Mariella Adani (Nannetta), Juan Oncina (Fenton) & Hugues Cuénod (Dr Caius)
The Royal Philharmonic Orchestra, Vittorio Gui
Track list:
CD: 1
Falstaff, opera
1. Act 1. Scene 1. Falstaff!
2. Act 1. Scene 1. Sss. Sei polli: sei scellini
3. Act 1. Scene 1. So che se andiam
4. Act 1. Scene 1. V'è noto un tal
5. Act 1. Scene 1. L'Onore! Ladri!
6. Act 1. Scene 2. Alice, Meg, Nannetta
7. Act 1. Scene 2. 'Fulgida Alice! Amor t'offro...'
8. Act 1. Scene 2. Quell'otre! Quel tino!
9. Act 1. Scene 2. È un ribaldo, un furbo, un ladro
10. Act 1. Scene 2. Psst, Psst. Nannetta, Vienqua
11. Act 1. Scene 2. Falstaff m'ha canzonata
12. Act 1. Scene 2. Torno all' assalto
13. Act 1. Scene 2. Udrai quanta egli sfoggia
14. Act 1. Scene 2. Del tuo barbaro diagnostico
15. Act 1. Scene 2. Qui più non si vagoli
16. Act 2. Scene 1. Siam pentiti e contriti
17. Act 2. Scene 1. Alice è mia!
18. Act 2. Scene 1. Padron; di la cè un serto Maestro Fontana
19. Act 2. Scene 1. Signore, v'assista il cielo!
20. Act 2. Scene 1. Io l'amo e lei non m'ama
21. Act 2. Scene 1. Il diavolo Se lo porti all' inferno
22. Act 2. Scene 1. È sogno? O realtà?
23. Act 2. Scene 1. Eccomi qua. Son pronto.
CD: 2
1. Act 2. Scene 2. Presenteremo un bill, per un tassa
2. Act 2. Scene 2. Giunto all' albergo della Giarrettiera
3. Act 2. Scene 2. Gaei comari di Windsor!
4. Act 2. Scene 2. 'Alfint'ho colto'
5. Act 2. Scene 2. Quand'ero paggio
6. Act 2. Scene 2. Mia signora!
7. Act 2. Scene 2. Il diavolo cavalca
8. Act 2. Scene 2. Vien qua. Che chiasso!
9. Act 2. Scene 2. Al ladro! Al pagliardo!
10. Act 2. Scene 2. Se t'aguanto! Se ti piglio!
11. Act 2. Scene 2. Ned! Will! Tom!
12. Act 3. Scene 1. Ehi! Taverniere!
13. Act 3. Scene 1. Reverenza. La bella Alice!
14. Act 3. Scene 1. Legge. Legge
15. Act 3. Scene 1. Quando il rintocco della mezza notte
16. Act 3. Scene 2. Dal labbro il canto est a siato vola
17. Act 3. Scene 2. Nossignore!
18. Act 3. Scene 2. Una, due, tre, Quattro
19. Act 3. Scene 2. Odo un soave passo!
20. Act 3. Scene 2. Ninfe! Elfi! Silfi!
21. Act 3. Scene 2. Sul fil d'un soffio etesio
22. Act 3. Scene 2. Alto là! Chi va là? Pietà!
23. Act 3. Scene 2. Ruzzola, ruzzola
24. Act 3. Scene 2. Naso vermiglio!
25. Act 3. Scene 2. Ogni sorta di gente dozzinale
26. Act 3. Scene 2. Ah! Ah! Ah! Ah!
27. Act 3. Scene 2. Tutto nel mondo è burla |
| 29.00 eur Buy |
|
ID: CDO1091_92-2
CDs: 2
Type: CD
|
Collection:
Opera & Vocal Collection
Subcollection: Voices and OrchestraThe opera is about Queen Cristina's abdication and tells the story in five scenes (Love, Marriage, Conspiracy, The Lost dream, Abdication). In true 19th century fashion the cause of the abdication was not her conversion to catholicism but her love of Magnus Gabriele and the future King Carl Gustav
Jacopo Foroni: Cristina Regina di Svezia (Historical-Lyrical Drama in five parts and three acts) The Göteborg Opera Orchestra and Chorus - Tobias Ringborg.
In January 1849, while conducting a variety of Italian operas at 'the smaller theatre scene' in Stockholm for the Vincenzo Galli opera company, Jacopo Foroni started his work on the opera build on Cristina, queen of Sweden. This was primarily to introduce himself to Swedish audiences, but was also a tribute to the monarch who had abdicated, converted to Catholicism, and left her homeland for Italy.
The opera is about Queen Cristina's abdication and tells the story in five scenes.
(Love, Marriage, Conspiracy, The Lost dream, Abdication)
In true 19th century fashion the cause of the abdication was not her conversion to catholicism but her love of Magnus Gabriele and the future King Carl Gustav
Cast:
Cristina, Queen of sweden - Liine Carlsson, soprano
Maria Euphrosina, Gabrieles love - Ann-Kristin Jones, mezzo
Axel Oxenstjerna, chancellor - Kosma Ranuer, baritone
Erik, his son - Iwar Bergkwist, tenor
Gabriele, Christinas favourite - Daniel Johansson, tenor
Carl Gustav, successor to the trone - Fredrik Zetterström, bariton |
| 29.00 eur Buy |
|
ID: GM5.0058
CDs: 2
Type: CD
|
Collection:
Opera Collection
Victoria de los Ángeles (Cio Cio San), John Lanigan (Pinkerton), Geraint Evans (Sharpless), Barbara Howitt (Suzuki), Joyce Livingston (Kate Pinkerton), David Tree (Goro), David Allen (Yamadori), Michael Langdon (Lo zio Bonzo), Ronald Firmager (Il commissario imperiale), Harry Gawler (L'ufficiale del Registro)
Recorded in London 1957 |
| 29.00 eur Temporarily out of stock |
|
ID: SIGCD208
CDs: 2
Type: CD
|
Collection:
Opera Collection
Subcollection: Voices and OrchestraFor You is a new opera that brings together the music of composer and BBC Radio 3 presenter Michael Berkeley and Booker-prize winning author Ian McEwan. This gripping tale of love, lust and obsession centers on the composer and prodigious womanizer Charles Frieth (Alan Opie), and the tragic consequences that his selfish actions cause him and those around.
Although essentially dark, there are moments of irony, wit, and humour throughout the opera. Soaring vocal lines, intricate ensemble pieces, and imaginative instrumental writing make this an electrifying work. Masterly performed by Music Theatre Wales, directed by Michael Rafferty.
The Opera has had great success from its initial performances in Wales and the Royal Opera House provoking great reviews.
“For You is a dark opera worth waiting for.”The Evening Standard
“... a dazzling and taut chamber piece which gives passionate way to Bergian lyricism while referencing both Britten and Richard Strauss in its airy, word-driven vocal lines.” |
| 29.00 eur Buy |
|
ID: GM5.0075
CDs: 2
Type: CD
|
Collection:
Opera Collection
Live recording, Buenos Aires, September 19, 1958
Leonore, his wife - Gré Brouwenstijn, soprano
Florestan, a prisoner - Hans Hopf, tenor
Don Pizarro, governor of the prison - Paul Schoeffler, baritone
Jaquino - Murray Dickie, tenor
Don Fernando, King's minister - Angelo Mattiello, bass
First Prisoner - Italo Pasini, tenor
Second Prisoner - Hector Barbieri, bass |
| 29.00 eur Temporarily out of stock |
|
ID: SIGCD246
CDs: 2
Type: CD
|
Collection:
Choral Collection
Subcollection: Voices and OrchestraThe Huddersfield Choral society has one of the longest and most fruitful relationships with Handel’s famous Messiah than perhaps any other chorus in the world: they first performed it in concert during their inception year of 1836, and have continued to do so annually since 1860 with concerts the world over as well as in their hometown of Huddersfield.
Recorded live in concert in December 2010, this new recording combines the famous ensemble with the Northern Sinfonia and four world-class professionals, under the direction of Jane Glover CBE. The disc begins with John Wainwright’s ‘Christians Awake’, a traditional addition to the Messiah programme at their concerts in Huddersfield. |
| 29.00 eur Buy |
|
ID: QTZ2017
CDs: 2
Type: CD
|
Subcollection: Voices and OrchestraAnna Leese - soprano (Mary)
Louise Poole - mezzo-soprano (Mary Magdalene)
Andrew Staples - tenor (John)
Colin Campbell - baritone (Peter)
Robert Rice - baritone (Judas)
Roderick Williams - baritone (Jesus)
The years 1898-1900 for Elgar saw the composition of The Dream of Gerontius which represented a new style of oratorio in which a continuous musical flow replaced the customary division into separate arias and choruses.
He embarked seriously on The Apostles in 1902 and the first performance took place in October of the following year at the Birmingham Festival conducted by Hans Richter. Elgar himself conducted performances in 1914 and again in 1922 in Canterbury Cathedral where this performance was given. As with Handel's Messiah Elgar's work was to have been in three parts, though it soon became apparent that it was going to be far too long for one oratorio, and the third part became the starting point for The Kingdom. This piece grew in its turn and the project became one for three oratorios; the first The Apostles, concerned with the apostles' relationship with the earthly Jesus, the second, The Kingdom, with the period after the crucifixion and the coming of the Holy Ghost, and the third, which never came to be written, on Judgment and the Life Everlasting.
Another influence is to be found in Wagner who built up his scores from a pattern of leit-motifs. In his analysis of The Apostles, Jaeger identified and named about sixty such themes, though he came under criticism from Ernest Newman (a leading Wagner authority) for being too obsessional in this respect, and even Elgar himself felt that Jaeger had taken this aspect of the work further than was really justified, since the themes, while being a strong structural element in the music, lacked the immediately identifiable symbolism of Wagner's motifs. The two composers' compositional methods were very different: Wagner completed his libretto first, allocating fragments of melody to particular ideas and incorporating them into the score at significant moments, for Elgar the musical development was pre-eminent he was by nature a symphonic, rather than an operatic composer. |
| 29.00 eur Buy |
|
|
